Synopsis
When recent flood waters wrought havoc among Florentine art treasures, the world's dramatic reaction was a tribute, more eloquent than any words, to the supreme place Florence holds in the hearts of art lovers and humanists. But the art of Florence, such as Ghiberti's carved baptistry doors, Brunelleschi's Duomo, and the great paintings and statues, is only the visible expression of Florence's greatest glory -- the spirit of the Quattrocento with which she shook the Western world. Now, in the first book to cover every facet of Florence's golden age, Vincent Cronin has written a brilliantly detailed, illustrated history of that profound fifteenth-century cultural revolution.
The Florentine Renaissance is the documented story of a miracle. Beginning with the story of how and why the miracle occurred in Florence at that particular time, Vincent Cronin outlines the foundation of Florence's fifteenth-century her special geographical situation; her affluence, independence and uniquely free citizenry; and her far-flung banking interests (one client of Florentine bankers was the Pope). But these factors, although important, merely made Florence fertile ground for the flowering of intellect and creative spirit. Mr. Cronin explains how the Renaissance really began with a fashion for classical studies among the rising Florentine leisured class. It was this new interest in the classical ideal which gave Florentines a revolutionary new concept of man's role in the the ideal that he should live his life to its fullest on earth, rather than waiting for his spiritual reward in heaven.
Vincent Cronin paints a portrait in depth of Florence's full life in every field of endeavor. He highlights the enlightened rule and patronage of the Medicis; the exploration of Greek and Roman philosophy and science; and the advances made by Florentine mathematicians, doctors and geographers. Then, in a series of stunning chapters, he tells of the artists who brought Florence her most lasting triumphs -- among them Brunelleschi, Ghiberti, Donatello, Uccello, Michelangelo, Piero della Francesca, Botticelli, and the immortal complete man, Leonardo da Vinci. Finally, he writes of the persuasive and puritanical monk, Savonarola, whose teachings split Florence, and whose death marked the end of the golden age.
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